Humans Prohibited

Poisonous Nostalgia

Hey here is something I penned on a ferry to be seen on the music rag, Wheel Scene.

When you consume a great quantity of music at a great pace in a relatively great period of time, the standards by which you define "impactful" seem to change not only in their source, but also in their impact. You often hear people talking about "phases" is their life of listening to music -- "I'm having a techno phase" or "i'm so into prog right now" -- and truthfully, after a while that's what it's like. Stations of focus for the sake of a broader understanding of the waves that music make through time. There is a time in every persons life, though, where those waves are only just reaching our bows, and every pitch, yaw, and shudder that comes our way is a memorable one. By no means can I truly narrow this down, but here's a snapshot of a few high points:



Motorhead - On Parole



Listening to this record led me to the epiphany that there is room for a lot of finesse in otherwise bludgeoning and heavy music. This is far from the most violent and wild Motorhead record, but in the wrong hands, these songs could have been a lot worse off. Particularly, I focused on the drumming. If memory serves, the story goes that the original drum tracks on this record are by someone else, whose fate was sealed when his performance in the studio did no better than to track ink all over an invoice. WIth an unusable LP in their hands, Animal Taylor stepped in like rhythms' bespoke tailor and turned a potential mess into the crafty, flexible, swagger that Motorhead would blast into in the next decade (and beyond). So what does finesse have to do with impact? Well, it's important to have learned that force can be accompanied by craft. Even though it's the least iconic, I listen to On Parole more than any other Motorhead record (Overkill is actually my favourite, favourite), if only for the good graces and untamable, civilized, forcefulness of their playing. TRACK PICK: "MOTORHEAD" better than the s/t version imo



Soundgarden - Badmotorfinger



This is one of the first cassettes I ever bought that was a real rock band. I believe some member of my immediate or extended family preceded the ok'ing of this purchase by asking "this isn't some of that devil worshipper music is it?" Anecdotes aside, I was absolutely floored by hearing this record. I was lost in a sea of trying to figure out pre-teen and understanding how to get plugged into the things people were talking about and for some reason, buying this cassette made the most sense as a startup. I worshipped it and played it until the tape was transparent. Basically my whole introduction in to rock music (i discovered classic rock/punk etc well after this tape) was "Rusty Cage" and "Jesus Christ Pose." In fact I made my first friend in middle school (Carter Smith) when he walked up to me and asked "what are you into?" and I said "Soundgarden." In something that could have been cut dialogue from Repo Man he said, "Cool. Let's start a riot." Though, instead of turning the trash upside down, I went back to the record store...

TRACK PICK: "RUSTY CAGE"



Nirvana - In Utero



For someone my age (29) Nirvana will most always grace a list like this. They were just THE most important band you could imagine, and every record delivered. I had already heard 'Nevermind' at summer camp and was pretty hooked (also a fine cassette purchase), but this one came home with me on a solo mission to "Sam The Record Man" (a now gone-bust music institution in Toronto). After hearing this record, the rest of rock music made perfect sense. The one thing they all had in common is that they weren't as good as Nirvana. Heart Shaped Box was the most frightening thing I think i'd heard. Again, sort of coming back to force and finesse. I had no idea what he was saying, and even if I could read the lyrics, I don't think I then understood what they meant. It was incredibly loud, the drumming reaches Bonham territory...but it's also dynamic. All the info about Nirvana was distributed in magazines and TV, most of which I didn't have access too, so there were so many rumours and questions floating alongside every listen to colour the experience. This is still my fav Nirvana record, even though Incesticide is probably the more punk choice ha.

TRACK PICK: "TOURETTE'S" which at the time I thought meant "short stories about tour." I am naive.



Sex PIstols - Never Mind The Bollocks/Ramones - s/t



These two are a must, of course, and therefore get equal footing. Never Mind the Bollocks was the first punk record I ever bought (also on cassette). It was purchased on a school trip to Ottawa (Canada's capitol) in grade 9 (age 14). After I bought it, I went to the "IT STORE" and bought some orange hair dye in a spray can and came home a punk. I couldn't shower or else the dye would wash out, so I also came home smelling like garbage. Possibly also punk. TRACK PICK: "SUBMISSION"



The Ramones record was inherited from a good friend whom i'd often accused of being too "trendy." But when it came to liberating this classic punk album from a lot of inherited LPs, and saving it from certain trendy death, I suddenly didn't mind him being so on the up and up. My reaction to this record was monumental, and actually came in three waves over the next 10 years, each wave intensifying and reshaping my whole identity as a "punk," then a music fan, and then as a song writer. One of the most important records i've ever had the pleasure of listening to. TRACK PICK: "I DON"T WANNA WALK AROUND WITH YOU"



Infest - Slave


This is maybe an odd choice. Infest's first LP really doesn't have anything directly in common with the other picks on this list, and lets face it, you might not even know who this band is. They are a hardcore band from Southern California that were mainly active in the mid to late 80s, slightly inched in to the 90s, too. The reason this LP is on this list is because of my experience playing it for the first time. In any number of documentaries about the Ramones, there will be a section of talking heads discussing the first time they heard the s/t album. The reactions ranged from maniacal laughter to determination that they were listening to the greatest music ever recorded. In any scenario, though, people are flabbergasted and silenced by the new sounds they're hearing. I bought "Slave" in high school on the same day as my closest pal. We both brought our copies home to my place and rushed up to the stereo to break out this slab of wax that we'd been hearing about for so long, but had never heard. The wax whooshed silent for a few seconds as the groove started out and then Infest smashed through the wax for the most intense fifteen minutes of my life. I thought it must be a joke. The vocals were barked, the drums sounded like popcorn popping, it was SO fast...the guitars screamed out of control, the bass sounded like a bandsaw breaking, and tempos changed on what seemed like completely nonsense turns. My friend and I sat there SCREAMING with laughter throughout the whole thing until the run off grooves crackled away on "Fetch the Pliers." We wiped our eyes and caught our breath and then with all seriousness looked at each other and said "play it again." Infest is some of the most undeniable USHC ever produced, and all of their records are classic and crushing too. LP TRACK PICK: "HEAD FIRST" (NON LP PICK "JUDGE ME")

Pt 2 -- Insides

June 25th of this year, we played in a semi re-done warehouse space in NY. The sort of place that straddles my own fantasy of shadowy neglect, and a future oriented occupation of a modern ruin. Cracks within the cracks. The heat outdoors had finally receded to a tolerable perspiration. People lined up and poured inside with immediate convection of any and all humidity available. You can imagine that the set was equally as damp and airless. Not a suffocating sensation, but more of a race to see who could breathe the first last and only particles of oxygen left in this box of human precipitation. I speak for myself in saying that while performing a physical feat like playing drums at high speeds for an hour in such a challenging climate, the mind slows and lags while limbs move on their own at the appropriate pace. The heat is a laggardly nemesis to any efficiency your body can produce. The only way to suffer with dignity is to simplify and concentrate so that you don't pass out or vomit (ps i threw up the next night in Philly mid song)

After the set, there was a mercifully cool hallway behind the stage to stand in. I rushed out of the gig-room to breath any kind of cooler air, and burst through the door, rudely interrupting two people slyly making out in otherwise off-limits area. The hallway had about four directions to go in and some sharp corners to hide behind. I made myself scarce, not so much out of courtesy but because I needed to change into dry clothes which requires a temporary moment of bare assed-ness.

TOUR TIP: never play drums in your underwear/jeans in summer. They just won't last a full tour and they will stink forever.

I emerged from my own private corner of NY architectural shadow clothed, dryer, and comfortable only to find my only exit blocked! The couple that were sweetly pecking on a summer night were now up to something else. Shoes and socks exposed bare legs. A nude lower half obscured by a crouching partner. I turned around and walked back to my impromptu change room, out of sight. Instead of taking a minute to think on the nature of interstitial space and shady cracks and othering of industrial spaces (more than enough of that), I did my best to figure out a discreet escape. Didn't have the courage to walk through them and say "excuse me" nor did I want to hang around waiting for them to finish or proceed. So I took to my heels and to the halls and dodged out the back door, and left the shadows to cast themselves in the dark on bended knee.

Late Pass: Thoughts about a drive into NYC from four years ago PT 1

New York City takes on layers and layers of character. With every visit you can see the simultaneous painting over and peeling back of its history. Some relics are architectural, other relics tell you about what it meant to be a 'pioneer' there in the 20th century. I mean pioneering only in an internalized sense, specific to one's own tribe. The first of the evolution of a private history, facing up what's requisite of the research, exploration, and combat of a new place. This of course is speaking to the storied immigration of the first half of the 20th and the hopeful borderless migration of citizens toward another life in the big city.

One visit, while arriving in the city I must have photographed at least a dozen signs that sold the sort of "raw material" for living that in some ways doesn't "belong" in Manhattan any more. Scaffold, rubber, cement, cork, asbestos, bracketing, masonry...The landing party, frontierism of new life in the United States' cities is in an entirely different form now. One inherits the product and has to learn how to use it, rather than gaining the land and being required to create a space to live in. Dirty resourcefulness gets pushed into the orbits around the cities, and 'diy' gets imported for maintenance.

Without sounding nostalgic or like i'm lamenting a by-gone era, there are of course still frontiers left in NY City. The redefinition of the interiors whose facades define the ageless face of Gotham, and the spatial interpretation of all the veins and tissue that help balance such a place remain a challenge and a truly exciting temporary space in one of the most 'permanent' cities in the world.

Fifteen years ago when I first was able to visit New York City, I would stare at some of the abandoned buildings and crenellating public spaces and wonder what they were like when they were first built, when their purpose was fully realized, and their order of things was functioning and established. Now, those same buildings have houses, new factories, theatres, cafes, retail, and a litany of other repurposes ensuring their existence. So much so that, like striving for a sense of frontierism in a finished place, you wonder if any shadows still exist. Any dark corners that haven't been swept up or tidied yet.

Above all, BEAT LIFE

Dancing Kings and Queens

For the moment of coordination to have arrived, when ones limbs can move independently of one another, is a great gift. Some people use it to their advantage, and some use it to please themselves. I may have reigned in the flail enough to keep time, but I don't think i'll ever learn to move like them. I guess i'll have to dance, then, on my own.

CHERRY BEACH

After nearly 4 years of deliberating, Career Suicide has finally reached an accord and have properly released the Cherry Beach e.p. With the exception of "Double Life," the four songs that appear on this record have been written for what feels like an eternity. Whatever the last song on this record is called (shows what I know) is so old, it's first iteration was committed to tape in the same session that produced the split 12" with Jed Whitey. Now that's old! That session also produced a shimmering Real Kids inspired powerpop song that I can only assume is permanently lost. Jazzmasters, Telecasters, Marashalls, and HiWatts were used. If you can crack the mountain of insanity that is the archive at Audoilab Studios in Toronto, perhaps you should find it and bootleg it.



Moving on, this record was originally released in very limited quantity to coincide with our UK/Ireland tour in 2008. A very storied summer indeed, and actually, one of the best CS tours ever, if not one of the most fun i've been on, period. So to update and make relevant the reproduction of our past efforts, we re-recorded the two songs that appeared there, included two new ones, and did the whole thing up in an actual studio with the Master of Loudness himself, Jon Drew. One of these tunes (same on that was demo'd during the JW session) is definitely a different feel than we're used to and has been through many comparative strokes. I think I originally wrote it to sound a bit like "I Don't Wanna Go Out" by Australia's X crossed with Wire but has thus been referred to as:

-Sex Pistols Song
-Rap Song
-Anarcho Song
-Killing Joke Bridge
-Boring

ENJOY.

It's an honour to work with Dirtnap, and a pleasure knowing that these old-arse tunes finally have a good home.

Go to careersuicidehc.blogspot.com to check out a track, or visit the Dirtnap Records website to get more info.

UPDATE:

Hey Toronto,

We're giving you the opportunity to support 2 great local record stores that have been really good to us over the years...

We just got a mystery shipment from Dirtnap records of red vinyl editions of the Cherry Beach EP. We're not sure how many were pressed, but there can't be many (we'll post on here when we sort it out)... to make things even more stupidly rare, we numbered 6 of the red vinyl records and split them between Hits and Misses and Rotate This.

HERE'S THE CATCH...
The records are available right now at the stores, BUT you need to spend at least $25 at one of the shops to get to buy the red vinyl Cherry Beach EP. Yeah, we know record store day was last month, but screw Hallmark holidays! Also, we're a bit slow and didn't think of this until now.

So, go buy some records... then ask them for a copy of the "red vinyl" Cherry Beach EP (which should be 6.99 and waiting for you behind the counter). First come, first served ...1 per customer, yadda yadda, gabba gabba hey!

Hits and Misses: 799 Queen St West
Rotate This: 801 Queen Street West

Love,
Career Suicide